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Chicago

Musicals as movies seem to be coming back--at least after "Moulin Rouge" I'd like to think so. This "dazzling" movie is pure entertainment. If you really need more, there is some morality thrown in. Director Rob Marshall creates a convincing musical theater production in a movie with the same vitality.

The time period in this story is 1920s Chicago. Roxie Hart (Renee Zellweger), is as cute as can be in a new short haircut of the Roaring 20s (hmm – I think I want that haircut, too). She’s a frustrated housewife with a dream to become a Vaudeville star. She’s self centered, and the only star in her head is herself.

Also chasing big marquee dreams is Velma Kelly (Catherine Zeta-Jones looking oh-so gorgeous!), a chorus girl with aspirations to become a star. She has a svelte haircut like a Louise Brooks bob. She’s tough and worldly wise. These two women on the exterior are completely opposite, but in their hearts beat the same kind of souls.

Velma kills her husband and sister when she catches them in bed together. And within the same timeframe, Roxie kills the man she’s having an affair with because he welches on his promise to get her a part on stage.

That’s when the real story begins.

Roxie and Velma are both charged with murder and dragged off to jail at "Murderess' Row." And the games begin...

In the jail, there is a whole chorus of female murderers who have killed their men. It’s what those guys deserved; they done them wrong.

Roxie and Velma both hire the same slick attorney, Billy Flynn (Richard Gere), to save them. He may be a lawyer on-screen, but he’s still Richard Gere to me, and I just can’t say he’s a slimy lawyer. I think he enjoyed this role, and it shows.

Slick Billy gives Roxie and Velma his professional advice for a fee, of course. He sings, "Give ‘em the ol' razzle dazzle," and the two women compete for the support of the fickle public.

The newspaper media eats it up and spits it out on front page headlines. The antics are constantly changing as the women try to out wit, dance, sing, and connive each other.

The first appearance of the awesome Mama Morton (Queen Latifah) as she belts out "When You’re Good to Mama" held my complete attention. She’s the prison matron and can be bribed for a few bucks. Poured into a sultry gown with a seductive voice to match, she shows why she's really a Queen!

Roxie’s gullible husband, Amos Hart (John C. Reilly), comes up with the fee to pay Billy Flynn, believing every word Roxie tells him. He aptly sings "Mr. Cellophane," lamenting his hopeless persona.

The old songs are rejuvenated, including a powerful rendition of "All That Jazz" performed by Velma (Zeta-Jones). Performing quite remarkably as well is Roxie (Zellweger), who dreams of seeing her name in lights.

The stage-like set designs suit the atmosphere of this story in its time period. The glitzy shiny costumes and loads of theatrical stage makeup on the actors, including the perfect casting, swept me away. The choreography was energetic and vitality exploded everywhere.

"Chicago" is light and glamorous, a musical from the old days. As we do at live theatre, my friend and I applauded when a song or dance number finished.

At the end, the lights came on, and we were brought back to reality. We had actually been at the movies the whole time!

Don't miss all this jazz in a wonderful silver screen-version of a classic on the Great White Way!

Written by: Judith Fox

Reviewers Rating: 9
Reader's Rating: 9.30
Reader's Votes: 23

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